Leon Chen on Why Pianists Should Look Beyond the Keyboard

Among the twenty young musicians gathered in Quanzhou for the Shanghai Conservatory of Music International Musician Competition, New Zealand-born pianist Leon Chen stands out for his broad musical perspective. Now based in London, Chen works as a répétiteur at the Royal Academy of Music, spending most of his days in opera rehearsal rooms, collaborating closely with singers and conductors. “We’ve just done Hansel and Gretel and The Magic Flute, with Carmen coming up next,” he said. “I went into répétiteur work because I really want to conduc. It’s a great way to start and make use of my sight-reading skills.”For Chen, the semi-finals taking place in Quanzhou represents something long overdue. “There needs to be way more of these types of competitions,” he said. “Too many pianists are content just being at the piano and doing nothing else. This is a great way, and honestly, an essential skill, for all pianists to have.”He rehearsed works by Strauss and Prokofiev yesterday afternoon, drawn to their contrasting characters: “One mysterious, the other heroic,” he noted. In chamber rounds, he partnered with London based Japanese violinist Mio Takahashi, a former university colleague. “She’s one of the very few violinists I feel truly comfortable playing with,” he smiled. “It’s rare, but that chemistry makes all the difference.” This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit klassikom.substack.com